The Ethics of Encounter in Contemporary Theater Performances

2012 ◽  
Vol 6 (1) ◽  
Author(s):  
KATHARINA PEWNY
Keyword(s):  
Theater Performances ◽  
Contemporary Theater

There Will Be Trouble

TURBA ◽  
2022 ◽  
Vol 1 (1) ◽  
pp. 95-102
Keyword(s):  
Visual Art ◽  
National Level ◽  
Political Theater ◽  
Public Funds ◽  
Post Colonial ◽  
Urban India ◽  
Theater Festivals ◽  
Contemporary Theater ◽  
New Theater ◽  
Pedagogical Discussion

It is perhaps more relevant now than ever before to prepare the ground for a pedagogical discussion on theater curation. Theater festivals have recently become prominent in India. It is true that India has cherished a ubiquitous tradition of festivals—utsavs and mahotsavs—for hundreds of years. Take, for example, the staging of Kudiyattam at ancient Sanskrit koothambalams, which would last several weeks in a festival atmosphere; the touring circuit of Assam mobile theater, which has created festival-like events since the 1950s; or the Marathi (political) theater, which has an active culture of more than a century of traveling and festival-like events. These are not the kind of festivals I am interested in for the purpose of this article—they have a “traditional” logic built into their purpose—but the kind that have emerged along secular lines in post-independent and urban India. These “new” theater festivals are primarily sponsored by the state, are supported by public funds at the regional and national level, and are therefore open to public participation and scrutiny. These festivals, wherever they are held, commonly include a multilingual and multicultural itinerary of plays. The intent behind the selection is largely driven by the post-colonial project, which is to “put together” an idea of modern India by including plays that have a critical outlook—these could be contemporary scripts, modern adaptations of classical plays, and works that explore contemporary vocabularies of performance (body-based, post-dramatic, experimental, etc.). Currently, India has over a dozen of these new theater festivals of varying scale; each running annually, each claiming to show the best of contemporary theater. In the absence of a touring circuit, these festivals provide artists with the opportunity to travel, to seek new audiences, to mingle with peers and masters, to be written about, and to woo award committees. Festivals are now doing for theater what exhibitions have done for visual art; they are highly visible events that offer immense resources and the promise of further influence. Festivals seem to bestow legitimacy on artistic work of a kind not seen before.

scholarly journals The Play’s the Thing: Experimentally Examining the Social and Cognitive Effects of School Field Trips to Live Theater Performances

2018 ◽  
Vol 47 (4) ◽  
pp. 246-254 ◽  
Author(s):  
Jay P. Greene ◽  
Heidi H. Erickson ◽  
Angela R. Watson ◽  
Molly I. Beck
Keyword(s):  
Perspective Taking ◽  
Educational Practice ◽  
Field Trips ◽  
Cognitive Effects ◽  
Random Assignment ◽  
Social Perspective ◽  
Social Perspective Taking ◽  
Educational Benefits ◽  
The Social ◽  
Theater Performances

Field trips to see theater performances are a long-standing educational practice; however, there is little systematic evidence demonstrating educational benefits. This article describes the results of five random assignment experiments spanning 2 years where school groups were assigned by lottery to attend a live theater performance or, for some groups, watch a movie version of the same story. We find significant educational benefits from seeing live theater, including higher levels of tolerance, social perspective taking, and stronger command of the plot and vocabulary of those plays. Students randomly assigned to watch a movie did not experience these benefits. Our findings also suggest that theater field trips may cultivate the desire among students to frequent the theater in the future.

Editorial: The afterlives of performances

Maska ◽  
2015 ◽  
Vol 30 (172) ◽  
pp. 28-33
Author(s):  
Daniela Hahn
Keyword(s):  
Performing Arts ◽  
The Political ◽  
Economic Implications ◽  
Epistemological Understanding ◽  
Contemporary Theater ◽  
The Relationship

How do documents matter in theatre performances? Do documents perform? How do ‘events’ become documents? What can be known about those events through documents? And what are the political and economic implications of acts and regimes of documentation? – By taking up these questions, this issue investigates performative practices of collecting, displaying, reconstructing and disseminating documents in order to reconsider the relationship between performance and documents as well as to examine the role documents play in shaping artistic modes of writing history. The contributions by scholars, artists, and curators assembled in this issue manifest that exploring documents in and through performance as well as exploring performance in and through documents is not primarily about reconnecting to and preserving a past that is irretrievably lost or displaced. Instead, they advance an epistemological understanding of the relations between performance and documents – characterised by constant translations and shifting constellations – as the basis for outlining a contemporary theater of documents and for bringing into view the processes of historicisation within the performing arts.

Contemporary Theater in Puerto Rico: The Decade of the Seventies

1983 ◽  
Vol 57 (3) ◽  
pp. 436
Author(s):  
Mark S. Finch ◽  
J. A. Collins ◽  
Río Piedras
Keyword(s):  
Puerto Rico ◽  
Contemporary Theater

Continuous body emotion recognition system during theater performances

2016 ◽  
Vol 27 (3-4) ◽  
pp. 311-320 ◽  
Author(s):  
Simon Senecal ◽  
Louis Cuel ◽  
Andreas Aristidou ◽  
Nadia Magnenat-Thalmann
Keyword(s):  
Emotion Recognition ◽  
Recognition System ◽  
Continuous Body ◽  
Theater Performances

scholarly journals USE AND EFFECT OF COLORS IN THEATRICAL PERFORMANCE OF INDIAN CLASSICAL DANCES

2014 ◽  
Vol 2 (3SE) ◽  
pp. 1-2
Author(s):  
Bhavna Grover
Keyword(s):  
Life Style ◽  
Human Life ◽  
Daily Routine ◽  
Word Form ◽  
Special Significance ◽  
Theatrical Performance ◽  
The World ◽  
Theater Performances ◽  
A Performance

If seen in word form, the color is very small, but if it is thought, then it is contained in everything in the world. If there is no color then our life style does not exist. If there is color, then human life exists. It is believed that all colors are originally made from white color and the number of colors is calculated. Which is an important part of our daily routine. 'Rang' which gives an idea of ​​the personality of any person. Sometimes the image of a person gets imprinted on our brain due to color. Similarly, the theater of our Indian classical dances, in which colors have been used very beautifully. Whether it is the color of the dancer's costumes at the theater or the adjustment of colors by lighting, the colors together complete a performance. Therefore, color has a special significance in theater performances. रंग’ अगर शब्द रूप में देखा जाये तो बहुत छोटा है परन्तु यदि इसे सोचा जाए तो दुनिया की प्रत्येक वस्तु में निहित है। अगर रंग नही है तो हमारी जीवनचर्या का अस्तित्व ही नही है। रंग है तो मानव जीवन का अस्तित्व है। माना जाता है कि सभी रंग मूल रूप से श्वेत रंग से ही बने है और रंगों की संख्या अंगणित है। जो हमारी दैनिक दिनचर्या का महत्वपूर्ण हिस्सा है।‘रंग’ जिससे किसी भी व्यक्ति के व्यक्तित्व का आभास होता है। कभी-कभी तो व्यक्ति की छवि ही हमारे मस्तिष्क पर रंग के कारण अंकित हो जाती है। इसी प्रकार हमारे भारतीय शास्त्रीय नृत्यों की रंगमंचीय प्रस्तुति जिनमें रंगो का प्रयोग बहुत ही खूबसूरती से किया जाता रहा है। रंगमंच पर चाहे वह नर्तक की वेशभूषा के रंग हो अथवा प्रकाश व्यवस्था द्वारा रंगों का समायोजन, रंग ही मिलकर एक प्रस्तुति को पूर्ण करते हैं। अतः रंगमंच प्रस्तुति में रंग अपना एक विशेष महत्व रखते है।

scholarly journals ARTISTIC CHALLENGES OF ALESSANDRO BARICCO - LITERATURE AND MUSIC

2019 ◽  
pp. 049
Author(s):  
Ljiljana Petrovic
Keyword(s):  
Television Series ◽  
Art Forms ◽  
Theater Performances ◽  
Hybrid Art

The theme of the paper is the multidisciplinary activities of the Italian writer Alessandro Baricco. Blending elements of literature and music Baricco is a music critic and creator of a television series that promotes not only opera, but also many hybrid art forms. They unite literature and music as well as special theater performances - Totem, public readings, rave readings, literature playlists. In these activities, the writer`s postmodern orientation and tendency towards performance are recognizable. The paper also points to the frequent discrepancies between the critics and the audience when it comes to the reception of his works, as well as the polarization of the critics themselves.

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